I was just twenty-two when I decided to launch Preo PR: young by most peoples' standards. When Preo launched, there was just a handful of independent, boutique fashion PR companies, whose clients were exclusively womenswear and accessory designers. These days you might be forgiven for thinking that there are more PR companies focussing on fashion and lifestyle than any other industry, such is the pace at which similar Public Relations firms are launched.
Is it the glamorous facade that has tempted so many in to this niche area of PR? Perhaps the term 'niche' no longer applies to the fashion industry? Certainly I have noticed fashion applying to an ever growing range of disciplines over the last decade. The Guardian's Saturday fashion pages are a perfect illustration of how fashion is now anyone’s business, regardless of age. When I was at school, a pair of Kickers and a Chipie jumper would be suitable attire for non-uniform day (perhaps explaining my dislike of branded clothing). These days however, many young teenagers - females in particular - are styled to a level I grew up seeing only in the pages of J17 magazine. Occasionally very impressive, sometimes clichéd, one could ask what these super-styled kids will look like in their 20's, 30's and older. Like the friends that were gifted the BMW for their 17th birthday, what will they look forward to driving in their 20's? Surely it's all downhill from a 3 series soft top? Unless you fund a shopping addiction with a part time job, looking good (whether that be down to TopShop purchases or a charity store scoop) costs money. And if Mother/Father isn't prepared to pick up the tab of their thirty year old daughter, then how can she possibly maintain her wardrobe and feed her habit?
Growing up in North London, 'looking good' was a basic requirement and from what I see on the streets of Golders Green, Hampstead and Winchmore Hill, it still is. Well groomed, with a hint of street, the North London girl knows her brands and is adept at combining designer with high street. But how soon this knowledge should be exhibited is, for me at least, a question worth asking. When I was ten years old, my favourite dress was covered in blue newspaper prints. I'll be honest with you, it was cool, very cool in fact. But I don't love it retrospectively, I loved it then. Cart wheeling around the garden, stopping to read an extract of news on the skirt, the dress made me happy. It mattered not where the dress came from, the label was an irrelevancy. I appreciate the modern influences, I understand why a young girl might like to have Cheryl's eye lashes and Pixie's hair (hell I was desperate for Kylie's blck hat with the hole in the middle) but can a fashion conscious twelve year old really believe that her self worth is inflated by donning a designer brand? Is that really how it works?
I know this is a tired ol' debate that has been broached by those both more liberal and conservative than I but every time I see a young girl with a labelled bag and designer pumps, I often wonder: is she is wearing the clothes or the clothes are wearing her. Perhaps I am not providing these fashion aware youngsters with enough credit (and I am absolutely not painting all young teens with the same brush). Perhaps their clothes do make them feel all warm on the inside. Perhaps they dress for themselves and not for others? Perhaps, perhaps. All I can be sure of is that I breathe a sigh of relief that I am not a young teenager in 2010, for fashions' sake at least.
Saturday
Advice To The Intern
I was recently contacted by a young reader of The Pocket Guide To The Fashion Media, seeking advice on working within the fashion media. Now, this isn't my area of expertise but the information I gained whilst writing the new guide enabled me to offer her a few tips. Here's what I said.
The Question
You say you are passionate. This is exactly what the press want to see. But your passion has to have a focus. As an intern you need to be jack of all trades but consider the areas of fashion in which you hold the most interest and establish a few key areas on which you are really well informed. It will undoubtedly be the instance in which you can assist with knowledge/experience (of a trend/brand/genre of fashion) that will make you stand out from all the other interns. As much as you need to know a little about a lot to get on in the industry, it is key knowledge and expertise that will make you stand out.
Do you have a blog? This seems to be so vital in today’s industry and ensure you are conversing with other bloggers/twitterers etc. Build up a presence, make connections and start creating a name for yourself. You never know who is listening, reading or popping on to your blog.
Re getting feedback, perhaps focus less of the feedback from those not looking to take you on, instead garner feedback from those you have already worked with. If possible, try to get a quote or two from a Fashion Ed or stylist to add to your CV, along the lines of “she was really great at ....” When you are on an internship, make sure you are networking, taking names and email addresses and building up a database of potential colleagues/future employees. This should hold weight for future publications."
The Question
"I am 22 years of age and graduated in summer 2009 with an English degree. Since then I have completed a years worth of experience across 7 renowned publications (and still have 3 more booked). I am so passionate and really do want to get my first foot in the door, however obviously realise how difficult and competitive it can be. This is why I am writing to you with regards to the mentoring to see what is on offer and perhaps get some tips with applications, etc. Whenever I have recently applied for a paid intern or junior position, I try to get some feedback but noone is ever willing to do so."
The Answer
"I’m presuming, armed with your English degree, you are wanting to become a fashion writer. Are you currently writing? From your own point of view you must be nurturing your craft, staying up to date with your industry and writing about it wherever possible. Even if your writing is never read (for the time being), it helps you to establish a pattern of observing and commenting – meaning when you finally do get a job in the industry, the dedication and time management skills will not be entirely new to you. Acting as though you are already in the industry, being paid to write, will make the transition from intern to employee much easier.
You say you are passionate. This is exactly what the press want to see. But your passion has to have a focus. As an intern you need to be jack of all trades but consider the areas of fashion in which you hold the most interest and establish a few key areas on which you are really well informed. It will undoubtedly be the instance in which you can assist with knowledge/experience (of a trend/brand/genre of fashion) that will make you stand out from all the other interns. As much as you need to know a little about a lot to get on in the industry, it is key knowledge and expertise that will make you stand out.
Do you have a blog? This seems to be so vital in today’s industry and ensure you are conversing with other bloggers/twitterers etc. Build up a presence, make connections and start creating a name for yourself. You never know who is listening, reading or popping on to your blog.
Re getting feedback, perhaps focus less of the feedback from those not looking to take you on, instead garner feedback from those you have already worked with. If possible, try to get a quote or two from a Fashion Ed or stylist to add to your CV, along the lines of “she was really great at ....” When you are on an internship, make sure you are networking, taking names and email addresses and building up a database of potential colleagues/future employees. This should hold weight for future publications."
Fashion: Work it
A recent commission by the British Fashion Council, estimated that the fashion industry generates around £21 billion to the UK economy. According to the consultants who conducted the report - Oxford Economics - the UK fashion industry employs more creatives than any other sector, their figure being 816,000 people.
That's a lot of creatives, hence the growth in applications to the numerous fashion courses available in the UK. But once you have completed a degree, how do you successfully penetrate such a competitive industry? How can you ensure you are able to put your theoretical learning into practice and embark upon your dream of working within the fashion industry? Perhaps you don't have the right qualifications, what are your chances of gaining employment?
When writing The Pocket Guide To The Fashion Media, we asked our wide range of contributors that very question. What advice would today's fashion writers, editors and bloggers offer to the fashion media of tomorrow? Below are just a few, there are of course plenty more golden nuggets of advice to be found, but you'll have to buy the book to discover them!
A qualification in fashion journalism is not necessarily something I would look for in a candidate if all their other attributes were strong. It is a very competitive industry however - and becoming increasingly so - so an appropriate qualification would never be considered a waste.
Dolly Jones, Online Editor, Vogue.com
Keep going, learn something from everyone. Be nice to everyone, Karma plays a big part.
Fashion Assistant, Elle Magazine
Work hard, be motivated and willing to do anything. Then people will trust you and you’ll be given more responsibility where you can learn, develop and progress.
Sairey Stemp, Fashion Editor, Cosmopolitan
Keep calm and carry on – no matter how stressed you get (and you will get stressed in this job!) smile and carry on. A smile goes a long way!
Junior Fashion Editor, In Style UK
Be realistic and think ahead to where you want to be a couple of years down the line. Be knowledgeable, know your stuff. An Editor is too busy to pause and pay you attention if you don’t know what you’re talking about. Be keen, ask questions but be polite.
Kiki Georgiou, Freelance Fashion Writer
Become as knowledgeable as you can about the publication and dress appropriately, how you present yourself is everything. Does the publication want someone cool and very into the scene or someone who is chic and stylish? Show confidence, be prepared and be friendly.
Sophie Stephens, Ex Intern, Wallpaper
That's a lot of creatives, hence the growth in applications to the numerous fashion courses available in the UK. But once you have completed a degree, how do you successfully penetrate such a competitive industry? How can you ensure you are able to put your theoretical learning into practice and embark upon your dream of working within the fashion industry? Perhaps you don't have the right qualifications, what are your chances of gaining employment?
When writing The Pocket Guide To The Fashion Media, we asked our wide range of contributors that very question. What advice would today's fashion writers, editors and bloggers offer to the fashion media of tomorrow? Below are just a few, there are of course plenty more golden nuggets of advice to be found, but you'll have to buy the book to discover them!
A qualification in fashion journalism is not necessarily something I would look for in a candidate if all their other attributes were strong. It is a very competitive industry however - and becoming increasingly so - so an appropriate qualification would never be considered a waste.
Dolly Jones, Online Editor, Vogue.com
Keep going, learn something from everyone. Be nice to everyone, Karma plays a big part.
Fashion Assistant, Elle Magazine
Work hard, be motivated and willing to do anything. Then people will trust you and you’ll be given more responsibility where you can learn, develop and progress.
Sairey Stemp, Fashion Editor, Cosmopolitan
Keep calm and carry on – no matter how stressed you get (and you will get stressed in this job!) smile and carry on. A smile goes a long way!
Junior Fashion Editor, In Style UK
Be realistic and think ahead to where you want to be a couple of years down the line. Be knowledgeable, know your stuff. An Editor is too busy to pause and pay you attention if you don’t know what you’re talking about. Be keen, ask questions but be polite.
Kiki Georgiou, Freelance Fashion Writer
Become as knowledgeable as you can about the publication and dress appropriately, how you present yourself is everything. Does the publication want someone cool and very into the scene or someone who is chic and stylish? Show confidence, be prepared and be friendly.
Sophie Stephens, Ex Intern, Wallpaper
Thursday
Back to uni
The Pocket Guide To The Fashion Media has arrived and it's back to uni for me. Not literally of course, but it's back to the list of all the UK universities' fashion courses. From the London College of Fashion to London's Business Met Uni, my first book - The Pocket Guide To Fashion PR made its' way on to many of the best fashion design and PR courses the UK has to offer. Now I hope, the new guide follows suit.
Although both guides have been designed specifically for fashion designers, boutiques and PR's, there is no doubt that the contents are of relevance and interest to university students. Knowing what will be in store when they graduate can be of real insight to tomorrows fashion industry, so keep your fingers crossed that the course leaders who added the first guide onto their recommended reading lists are equally impressed by the second.
Although both guides have been designed specifically for fashion designers, boutiques and PR's, there is no doubt that the contents are of relevance and interest to university students. Knowing what will be in store when they graduate can be of real insight to tomorrows fashion industry, so keep your fingers crossed that the course leaders who added the first guide onto their recommended reading lists are equally impressed by the second.
Wednesday
Dream Lists really do come true....
When I started planning The Pocket Guide To The Fashion Media, I created a 'dream list' of the contacts I wanted to consult. Ranging from Editors to Bloggers, I considered the list to be ambitious to say the least. Often, the press can close camps when contacted by 'outsiders', unwilling and, often unable, to provide quotes or information that might reflect on their publication. This is not a critisism. Many publishers prefer that their employees do not issue statements, or provide quotes on behalf of their publications, so I was not surprised when some of those I contacted declined to partake.
What did surprise me, was the number of fashion media contacts who did respond. Without wanting to sound to gushing, I really am so grateful to the many Journalists, Editors, Assistants and Bloggers who took the time to take our questionnaires, answer our questions and provide quotes. Literally, the book could not have been written without them.
At the very top of my dream list, stood a handful of names that almost everyone with an interest in fashion will recognise. One of them was Dolly Jones, Editor of Vogue.com. Dolly very kindly took time out of her busy schedule (and trust me, it's one of the busiest schedules in the industry!) to contribute to the book. Her exclusive insight *squeals of delight* into one of the most coveted roles in the industry is a must read for anyone who:
- reads Vogue.com (and quite frankly, who doesn't?)
- is interested in what makes the queen of online fashion journalism tick
- wants to attract Dolly's attention
- would like to work in the fashion media
- thinks being editor of Vogue.com has to be one of the best jobs Ever.
This is a (very) un-edited, raw extract from Dolly's interview, many of the 'best bits' are naturally, saved for the book. The polished, less-interview-more-editorial copy will be in the book.
By the way, this isn't a spoiler, consider it more of a yummy taster....enjoy!
P.S, if you want to use any of the interview for your own blog, play nice and ask first, thank you.
S: I understand you read History of Art at university, followed by a journalism course. Would it be correct to suggest that your first passion is writing and fashion second? If so, might this professional, editorial focussed approach be the secret to the success of Vogue.com?
DJ: Yes, writing was the first ambition. I was always interested in clothes but didn’t consider the possibility of working in fashion until I arrived at Vogue on work experience. I think strong, high quality editorial and genuine journalism is the highest priority of the site and always has been. I hope the editorial approach has contributed to our success.
S: What are your thoughts on the increasing popularity (and number) of fashion bloggers and fanzines?
DJ: I think they are inspirational and an exciting development in the way the internet is being used by people all over the world every day. Fashion is something we all wear, it’s natural that we should all be able to have an opinion about it and share those opinions. It’s also about creativity and new ideas so I like that people are using the internet to fuel their passion for it.
S: How important are the international fashion weeks to Vogue.com? Do you think there is more pressure for the online Vogue team to have a presence at the shows compared to both Vogue magazine and rival publications and sites?
DJ: Coverage of the international collections are incredibly important to the site. Our users expect to see all the photos, videos, show reports and backstage imagery as soon as possible after every show and we can’t let them down. I don’t think we have more pressure to attend than Vogue magazine – it translates what happens at the shows in a completely different way and works to an entirely different time scale. I can’t speak for our rivals, but we’d never let our users down by not providing them with all the show coverage.
S: Having worked at Vogue and Vogue.com, what would you cite as the main differences between the two mediums?
DJ: Vogue.com is daily and Vogue is monthly – the routine of creating each of them is completely different. Vogue.com catalogues events in the fashion world as they happen, whereas Vogue magazine’s remit is to translate what’s happening in fashion, indeed to lead it, by using the world’s best writers, photographers, designers and models – the combined brand identity focuses on quality and authority, but the realities of both are very different.
S: Please list three of the best aspects of being an Editor.
DJ: 1. Seeing ideas comes to fruition and the effect that has on traffic
2. The responsibility to continue creating a site that has so many users.
3. Working with a team of people with a shared goal
S: And three of the least appealing aspects
DJ: 1. The responsibility to continue and grow the success of the site, can be quite a pressure.
2. The internet never switches off – I’m not very good at switching off either, therefore.
3. I can’t think of a third I’m afraid.
S: Sid you ever imagine that you would hold one of the most desirable jobs in journalism and is the role as glamorous as our readers might think?
DJ: You’re very kind to describe it as that. I feel incredibly lucky to have a job I enjoy so much and that keeps me so inspired. I have met and worked with incredibly talented people, seen some beautiful things, been to wonderful places and worn some pretty gorgeous clothes. On the other hand I’m sitting here writing this on a Saturday afternoon in the office, it’s dark outside and I have another 500 emails to read before I go home tonight. It has its moments, but it’s not always glamorous.
What did surprise me, was the number of fashion media contacts who did respond. Without wanting to sound to gushing, I really am so grateful to the many Journalists, Editors, Assistants and Bloggers who took the time to take our questionnaires, answer our questions and provide quotes. Literally, the book could not have been written without them.
At the very top of my dream list, stood a handful of names that almost everyone with an interest in fashion will recognise. One of them was Dolly Jones, Editor of Vogue.com. Dolly very kindly took time out of her busy schedule (and trust me, it's one of the busiest schedules in the industry!) to contribute to the book. Her exclusive insight *squeals of delight* into one of the most coveted roles in the industry is a must read for anyone who:
- reads Vogue.com (and quite frankly, who doesn't?)
- is interested in what makes the queen of online fashion journalism tick
- wants to attract Dolly's attention
- would like to work in the fashion media
- thinks being editor of Vogue.com has to be one of the best jobs Ever.
This is a (very) un-edited, raw extract from Dolly's interview, many of the 'best bits' are naturally, saved for the book. The polished, less-interview-more-editorial copy will be in the book.
By the way, this isn't a spoiler, consider it more of a yummy taster....enjoy!
P.S, if you want to use any of the interview for your own blog, play nice and ask first, thank you.
S: I understand you read History of Art at university, followed by a journalism course. Would it be correct to suggest that your first passion is writing and fashion second? If so, might this professional, editorial focussed approach be the secret to the success of Vogue.com?
DJ: Yes, writing was the first ambition. I was always interested in clothes but didn’t consider the possibility of working in fashion until I arrived at Vogue on work experience. I think strong, high quality editorial and genuine journalism is the highest priority of the site and always has been. I hope the editorial approach has contributed to our success.
S: What are your thoughts on the increasing popularity (and number) of fashion bloggers and fanzines?
DJ: I think they are inspirational and an exciting development in the way the internet is being used by people all over the world every day. Fashion is something we all wear, it’s natural that we should all be able to have an opinion about it and share those opinions. It’s also about creativity and new ideas so I like that people are using the internet to fuel their passion for it.
S: How important are the international fashion weeks to Vogue.com? Do you think there is more pressure for the online Vogue team to have a presence at the shows compared to both Vogue magazine and rival publications and sites?
DJ: Coverage of the international collections are incredibly important to the site. Our users expect to see all the photos, videos, show reports and backstage imagery as soon as possible after every show and we can’t let them down. I don’t think we have more pressure to attend than Vogue magazine – it translates what happens at the shows in a completely different way and works to an entirely different time scale. I can’t speak for our rivals, but we’d never let our users down by not providing them with all the show coverage.
S: Having worked at Vogue and Vogue.com, what would you cite as the main differences between the two mediums?
DJ: Vogue.com is daily and Vogue is monthly – the routine of creating each of them is completely different. Vogue.com catalogues events in the fashion world as they happen, whereas Vogue magazine’s remit is to translate what’s happening in fashion, indeed to lead it, by using the world’s best writers, photographers, designers and models – the combined brand identity focuses on quality and authority, but the realities of both are very different.
S: Please list three of the best aspects of being an Editor.
DJ: 1. Seeing ideas comes to fruition and the effect that has on traffic
2. The responsibility to continue creating a site that has so many users.
3. Working with a team of people with a shared goal
S: And three of the least appealing aspects
DJ: 1. The responsibility to continue and grow the success of the site, can be quite a pressure.
2. The internet never switches off – I’m not very good at switching off either, therefore.
3. I can’t think of a third I’m afraid.
S: Sid you ever imagine that you would hold one of the most desirable jobs in journalism and is the role as glamorous as our readers might think?
DJ: You’re very kind to describe it as that. I feel incredibly lucky to have a job I enjoy so much and that keeps me so inspired. I have met and worked with incredibly talented people, seen some beautiful things, been to wonderful places and worn some pretty gorgeous clothes. On the other hand I’m sitting here writing this on a Saturday afternoon in the office, it’s dark outside and I have another 500 emails to read before I go home tonight. It has its moments, but it’s not always glamorous.
Thursday
The Finishing Line
The final edit of The Pocket Guide To The Fashion Media is now complete and my excitement is almost audible.
When I (finally) completed my first book: The Pocket Guide To Fashion PR, I was utterly ecstatic. I had promised myself (and any one else who cared to listen) that I would one day write a fashion PR guide that was dedicated to fashion designers and designed for those who - put simply - want to achieve results without spending bags of cash.
Writing the book was a task, albeit a thoroughly enjoyable one. Unearthing time to write within such a tight schedule seemed almost impossible. Running a PR firm, tending to my clients and constantly on the hunt for the next brilliant piece of press coverage meant a few hours writing seemed more than tricky to negotiate. However over the course of quite literally a few years the book was finally ready and I was thrilled when it was picked up by universities, independent book shops such as RD Franks as well as the big guns such as Waterstones.
This book however was a different matter entirely. Relying so heavily on contributors meant much of my time was spent speaking with editors, stylists, bloggers and writers, catching quotes, interviewing and researching for information that would be of genuine use and interest to the readers. Of course there is some actual writing to be found, I simply couldn't justify producing a book comprised only of quotes. But this guide ensured that any negotiating of time was on behalf of my contributors, not for me! Less pressure on my time but lots of fine cutting with deadlines and tapping of fingernails in anticipation. If I'm honest, I'm slightly surprised that we are now so close to the finishing line. Over 150 members of fashion media later and the last few steps are almost tangible.
In essence however, the two guides are the perfect compliment to each other - as they should be. I intend to produce several more guides in the series, all with fashion designers in mind and am thrilled that the guides have been of such benefit to so many.
I am still amazed by the far reaching audience it attracts. From the reading list at LCF to independent boutiques in Australia and LA, the fantastic feedback I have received has come from voices from all around the globe. Fingers crossed that The Pocket Guide To The Fashion Media will garner an equally great response!
When I (finally) completed my first book: The Pocket Guide To Fashion PR, I was utterly ecstatic. I had promised myself (and any one else who cared to listen) that I would one day write a fashion PR guide that was dedicated to fashion designers and designed for those who - put simply - want to achieve results without spending bags of cash.
Writing the book was a task, albeit a thoroughly enjoyable one. Unearthing time to write within such a tight schedule seemed almost impossible. Running a PR firm, tending to my clients and constantly on the hunt for the next brilliant piece of press coverage meant a few hours writing seemed more than tricky to negotiate. However over the course of quite literally a few years the book was finally ready and I was thrilled when it was picked up by universities, independent book shops such as RD Franks as well as the big guns such as Waterstones.
This book however was a different matter entirely. Relying so heavily on contributors meant much of my time was spent speaking with editors, stylists, bloggers and writers, catching quotes, interviewing and researching for information that would be of genuine use and interest to the readers. Of course there is some actual writing to be found, I simply couldn't justify producing a book comprised only of quotes. But this guide ensured that any negotiating of time was on behalf of my contributors, not for me! Less pressure on my time but lots of fine cutting with deadlines and tapping of fingernails in anticipation. If I'm honest, I'm slightly surprised that we are now so close to the finishing line. Over 150 members of fashion media later and the last few steps are almost tangible.
In essence however, the two guides are the perfect compliment to each other - as they should be. I intend to produce several more guides in the series, all with fashion designers in mind and am thrilled that the guides have been of such benefit to so many.
I am still amazed by the far reaching audience it attracts. From the reading list at LCF to independent boutiques in Australia and LA, the fantastic feedback I have received has come from voices from all around the globe. Fingers crossed that The Pocket Guide To The Fashion Media will garner an equally great response!
Monday
New Title, New Colour
THE POCKET GUIDE TO THE FASHION MEDIA
No longer in the working title stage, The Pocket Guide To The Fashion Media will be coming to a book shelf near you soon!!
Very exciting and I personally can't wait to hold the finished article in my hand.
And for added excitement, here is a pic of the new cover. A deep, rather lovely purple that looks nothing short of fabulous next to the red cover of The Pocket Guide To Fashion PR. Good times....
No longer in the working title stage, The Pocket Guide To The Fashion Media will be coming to a book shelf near you soon!!
Very exciting and I personally can't wait to hold the finished article in my hand.
And for added excitement, here is a pic of the new cover. A deep, rather lovely purple that looks nothing short of fabulous next to the red cover of The Pocket Guide To Fashion PR. Good times....
Tuesday
My Fav Top Tips From Bloggers
I haven't gone public with the specific content of my next book but I can reveal that it will be jam packed with quotes from some of the fashion media's most influential members.
Contributors range from Vogue editors to star bloggers and we are hoping it will be both a valuable and useful sequel to The Pocket Guide To Fashion PR. Just like our first guide, this new book is written for fashion designers, boutiques and PR's and - as you might of guessed - is concentrated on the fashion media.
The new guide is now firmly engaged in the editing process but as a taster of what's to come, here are 3 of my top tips from fashion bloggers. If you want to 'make friends' with your fav fashion bloggers, then here's how!
1 Become familiar with the best international bloggers whose aesthetic most closely aligns with your own. Essentially: understand who your target audience really is and you will reach them all over the world, through the blogs they read.
Carrie & Nick, Founders, borderlinemag.com
2 The most important thing to us in terms of deciding whether a story is right for us is: Is it new? Why is this person/trend/new store different or special? How can we tell the story in a way that no one else will to share this special view of fashion with our readers?
Christene Barberich, Editorial Director, refinery29.com
3 Offer incentives and exclusive opportunities to loyal bloggers on a rotating basis, make them feel special and they will reciprocate the feeling.
Kristin Knox, Founder/Editor, theclotheswhisperer.co.uk
Thanks so much to Kristin, Christene, Carrie and Nick for thieir contributions, you can read more tips from them (and plenty of other fabulous bloggers) when the guide is launched. The new book is dedicated to inside info like this, so make sure you check in regularly (or follow me on twitter) for news and more exclusives!
Contributors range from Vogue editors to star bloggers and we are hoping it will be both a valuable and useful sequel to The Pocket Guide To Fashion PR. Just like our first guide, this new book is written for fashion designers, boutiques and PR's and - as you might of guessed - is concentrated on the fashion media.
The new guide is now firmly engaged in the editing process but as a taster of what's to come, here are 3 of my top tips from fashion bloggers. If you want to 'make friends' with your fav fashion bloggers, then here's how!
1 Become familiar with the best international bloggers whose aesthetic most closely aligns with your own. Essentially: understand who your target audience really is and you will reach them all over the world, through the blogs they read.
Carrie & Nick, Founders, borderlinemag.com
2 The most important thing to us in terms of deciding whether a story is right for us is: Is it new? Why is this person/trend/new store different or special? How can we tell the story in a way that no one else will to share this special view of fashion with our readers?
Christene Barberich, Editorial Director, refinery29.com
3 Offer incentives and exclusive opportunities to loyal bloggers on a rotating basis, make them feel special and they will reciprocate the feeling.
Kristin Knox, Founder/Editor, theclotheswhisperer.co.uk
Thanks so much to Kristin, Christene, Carrie and Nick for thieir contributions, you can read more tips from them (and plenty of other fabulous bloggers) when the guide is launched. The new book is dedicated to inside info like this, so make sure you check in regularly (or follow me on twitter) for news and more exclusives!
Friday
What's In It For You
Extract from The Pocket Guide To Fashion PR
In time fashion brands and boutiques will reap many benefits from establishing and maintaining a PR plan. They include:
• Increased sales with both new and existing customers
• Receiving acknowledgment and endorsements from your target media
• Gaining the attention of potential stockist’s such as independent
boutiques and department stores
• Gaining credibility and desirability when approaching financial
backers
• Assist you in attracting better staff who wish to work with a
brand such as yours
• Increasing your chances of collaborations and cross marketing
opportunities
• Enable you to bargain with new and existing suppliers and
manufacturers etc
• Attract celebrity customers and endorsements
In time fashion brands and boutiques will reap many benefits from establishing and maintaining a PR plan. They include:
• Increased sales with both new and existing customers
• Receiving acknowledgment and endorsements from your target media
• Gaining the attention of potential stockist’s such as independent
boutiques and department stores
• Gaining credibility and desirability when approaching financial
backers
• Assist you in attracting better staff who wish to work with a
brand such as yours
• Increasing your chances of collaborations and cross marketing
opportunities
• Enable you to bargain with new and existing suppliers and
manufacturers etc
• Attract celebrity customers and endorsements
Saturday
The Guide's Top Tips from PR Couture
When the guide was first launched last year, the lovely Crosby Nicks at PR Couture kindly featured seven top tips from the book. For those that missed the article first time round, below are a few tips from the feature.
Chapter: Keeping A Record
Brief Description: Record keeping is perhaps the most important aspect of handling your own PR. By retaining clear and concise records of your actions you will speed up the entire PR process as well as keeping confusion to a minimum.
Tip: To aid the organisation of press correspondence and to appear more professional, set up an independent email account for your business, i.e. press@usual address.
Chapter: Looking Good
Brief Description: This chapter is concerned with the shooting, presentation and desired effects of your images. From lookbooks to jpegs we discuss many of the options open to when handling the visual side of your PR plan. We also provide advise for preparing for a shoot.
Tip: Aim to include each piece from your collection. If you design throughout the season, you may prefer to use a mannequin or opt for the still life option. Recreating an orchestrated shoot for additional pieces later on in the season may be tricky. Ensure you can update these new pieces easily in to your lookbook as they arrive.
Chapter: Loose Buttons
Brief Description: At some point a button will fall off your PR plan and invariably you will have to deal with damaged samples, lost accessories and frustrating obstacles that might hold you up. This chapter reveals some of the black holes you will encounter and how best to approach them, as well as offering a few pointers for other, more general aspects of handling your own PR.
Tip: Misprints – If one of your samples is used in a fashion shoot, then it is vital that you are credited correctly for your designs. However there are occasions when publications print inaccurate information. In this instance, you must notify them immediately. No publication wants to provide their readers with incorrect information and they will usually do all they can to rectify the situation. The publication can notify readers of their mistake in a subsequent issue or, as with missing samples they can provide more coverage as a means of apology. The important point to remember in this instance is that you are losing potential sales and possibly giving another label credit for your designs. Be sure to persevere when seeking an amendment.
Chapter: Keeping A Record
Brief Description: Record keeping is perhaps the most important aspect of handling your own PR. By retaining clear and concise records of your actions you will speed up the entire PR process as well as keeping confusion to a minimum.
Tip: To aid the organisation of press correspondence and to appear more professional, set up an independent email account for your business, i.e. press@usual address.
Chapter: Looking Good
Brief Description: This chapter is concerned with the shooting, presentation and desired effects of your images. From lookbooks to jpegs we discuss many of the options open to when handling the visual side of your PR plan. We also provide advise for preparing for a shoot.
Tip: Aim to include each piece from your collection. If you design throughout the season, you may prefer to use a mannequin or opt for the still life option. Recreating an orchestrated shoot for additional pieces later on in the season may be tricky. Ensure you can update these new pieces easily in to your lookbook as they arrive.
Chapter: Loose Buttons
Brief Description: At some point a button will fall off your PR plan and invariably you will have to deal with damaged samples, lost accessories and frustrating obstacles that might hold you up. This chapter reveals some of the black holes you will encounter and how best to approach them, as well as offering a few pointers for other, more general aspects of handling your own PR.
Tip: Misprints – If one of your samples is used in a fashion shoot, then it is vital that you are credited correctly for your designs. However there are occasions when publications print inaccurate information. In this instance, you must notify them immediately. No publication wants to provide their readers with incorrect information and they will usually do all they can to rectify the situation. The publication can notify readers of their mistake in a subsequent issue or, as with missing samples they can provide more coverage as a means of apology. The important point to remember in this instance is that you are losing potential sales and possibly giving another label credit for your designs. Be sure to persevere when seeking an amendment.
Thursday
The Pocket Guide To Fashion PR...the offical blurb
The Pocket Guide to Fashion PR contains a wealth of advice and insider information on the exciting and fast paced world of Public Relations. Ideal for the new designer and some of the more established women's wear and accessory brands, this guide concentrates on the core aspects of establishing and maintaining a fashion PR plan, whether on your own or within a team.
On the reading list for many of the UK's most revered fashion courses, this guide is an introduction to the skills and dedication needed by any individual wanting to raise awareness, gain recognition and ultimately increase the sales of their product. From press releases to general emails, meetings to industry jargon, The Pocket Guide To Fashion PR concentrates on establishing and maintaining a PR plan that works for you.
Designed for those with minimal experience of Public Relations, it enables you to keep PR activities close to home and under your purse strings, as well as providing invaluable tips for those already succeeding in their PR strategy. From maintaining press relations to securing coverage in national magazines and newspapers, The Pocket Guide to Fashion PR gives you a chance to successfully compete against powerful public relation firms and more established brands
On the reading list for many of the UK's most revered fashion courses, this guide is an introduction to the skills and dedication needed by any individual wanting to raise awareness, gain recognition and ultimately increase the sales of their product. From press releases to general emails, meetings to industry jargon, The Pocket Guide To Fashion PR concentrates on establishing and maintaining a PR plan that works for you.
Designed for those with minimal experience of Public Relations, it enables you to keep PR activities close to home and under your purse strings, as well as providing invaluable tips for those already succeeding in their PR strategy. From maintaining press relations to securing coverage in national magazines and newspapers, The Pocket Guide to Fashion PR gives you a chance to successfully compete against powerful public relation firms and more established brands
Subscribe to:
Posts (Atom)